Wednesday, 29 June 2016

"Only a Carpathian would come back to life now and choose New York! If you had brain one in that huge melon on top of your neck, you would be living the sweet life out in Southern California's beautiful San Fernando Valley!* "

[ * The Jerusalem of Sex ]

Dr. Peter "Pete" Venkman

President of the Largest Paranormal Investigation and Elimination etc. Etc....

The World is Changed.

We are now experiencing life in The World after 2012, and women have all the power.

Though many do not get know it yet, there are billions more that feel it, even if they do not see it.

And this will increase.

Boudicca is awake, and all her slaughtered daughters and Grand Daughterhood hear her cry to arise and turn again to glory.

The world is becoming more female.

The Mighty Thor Odinson, God of Thunder, Lord of the Storm, Malkeith's Bane, Slayer of the Wyrm, Guardian of the World-Ash Tree, Troll-Smasher, Hammer of the Goblin Horde, Crown Prince of Asgard and Conqueror of the Nine Worlds says :

"Hello, Ghostbusters, whaddya want?!"

"And will that be cash or charge?

No Diner's Club, American Express or Luncheon Vouchers.

Yes, we can accept a cashier's check or Visa."

THIS DOESNT APPEAR TO BE WORKING...

WHY ISNT THIS WORKING?

THIS USUALLY WORKS...

THIS SHOULD BE KILLING YOU...

WHY CAN'T I MAKE YOU DIE?!?

I learnt the by reading JLA : Earth2 by Grant Morrison - Gozer CAN'T win by manifesting in 1984 the way she did - because she's a girl.

Affect all of the Sheena Easton 9 to 5 hairdos you like, lady - as a deity, you absolutely cannot manifest physically in female form in the year 1984 and win...!!

She has no power here - she cannot even smite three ordinary mortal males.

They challenge her with maleness.

They meet her at The Gate with autistic bureaucratic authoritarian pedantry, shouting, name calling, abusive language, mysogeny and finally, with their cocks, before ultimately rubbing all of their cocks together to make her go away, and are successful in their efforts to block her claim to power.

Four mortal men embarrass and humilate and vanquish a goddess, and weren't even killed.

There is essentially a nuclear detonation on the roof of that building, with a wall of flame and Godzilla-style atomic fire so intense it instantly incinerates and liquifies several hundred tonnes of highly processed sugar in barely a fraction of a split second and there isn't even a scratch on them.

Their hair isn't even burnt.

Dan Ackroyd, Ivan Reitman and Harold Ramis claim on the commentary track that this is "a joke", but I don't think it is - for one thing, it lacks a punchline or a point at which you are obviously meant to reflect on the absurdity and laugh, especially as it is so deeply embedded in the absolute complete dramatic apex of the entire picture.

I think this is intended (on some level) to reflect the fact that Gozer, as a girl, coming into The World of 1984 in the dying days of The Age of Men can't hurt them because the dominant patriarchy makes them invincible.

No Bitches Don't B catchin no Ghosts.

[Mr. Stay-Puft is still too female because he is soft, sweet and gooey inside - YIELD to my nuclear physics!!]

All of the Politically Correct Anglophones out there are now racing to call that last series of remarks sexist and mysogonist. Well, only in America. And England.

The Universe is GENDERED, along with everything in it.

This has nothing to do with sex or sexuality.

This has mostly been eliminated from the English Language, except where it relates to ships and boats, but EVERYTHING in nature, like nature has a male and a female aspect to it, with one or other or them dominating - speakers of French or any romance language will be easily able to tell you why rivers and streams are called "she" while the planet Jupiter is a "he".

Gozer is a god - and as such, whenever he/she/it decides to vibrate it's energy downwards and intersect with the world of materialism and make it's pressence felt by intersecting with this dimensional plane of our three dimensions as a projection of her higher dimensional being,

"It's whatever it wants to be."

In 1984, in the Age of Men, females were wives, girlfriends, secretaries, mistresses, mothers, sisters, whores, nuns....

In 2016, Woman was The Goddess.

But that's because the aeon flipped around in 2012 and the Age of Men has now passed.

Men were the Big Swinging Dicks on the block in 1984.

They didn't have time to mess around with no "goddess" back in the Reagan years.

Not since Boudicca, Asherah and Judy left town.

So let's just show this Pre-historic Bitch how we do things down town

Conversely, as a man and former earthly King, Vigo CAN win, and is far more successful because he manifests as a male destroyer warrior / sorcerer and seizes a baby man-child whilst brutalising her mother - but he can back at a point way too near to the end of the æon, in its dying twilight when the power of Men was failing and about to fall.

And as soon as he fully coporealises and vibrates down to BECOME a man (Ray), he can only do so parasitically by latching onto an existing male soul to draw in strength and anchor himself to this spiritual and material plain, which renders him vulnerable to attack (and defeat) by other mortal men, which then IMMEDIATELY occurs.

And Men are able to do effectively and totally vanquish Vigo when he manifests by using a combination attack volley of Male and Female weaponry to destabilise and disrupt his manifestation on this plain, jam all his frequencies and exorcise him completely from this level of reality -

2 particle beams + 1 hose-down of vulva-pink mood slime =

"Vhi am I covered in goo...?"

Hey, man - I LOVE YOU."

A 1989 solution

[ I think it may be one of the Fettucchinis... ]

It's actually VERY interesting, there is Millenialism all over Ghostbusters 2, even down to the promotional campaign; just like with the Paul McGann 8th Doctor TV-Movie, although seemingly even MORE arbitrary and pedantic.

When Prince wrote about the End of the World and Judgement Day and called it 1999, he knew full well and never intended it to literally mean that the world would come to an end at midnight on Dec. 31st 1999 (or Dec. 31st 2000, come to that), just as when Rod Steiger talks of images and numbers sometimes appearing upside down in dreams and prophecy, such as 666 instead of 1999 in my personal favourite guilty apocalyptic action flick pleasure, End of Days. It's self-evidently tongue-in-cheek, ironic and intended to take the piss out of Bible Literalists and fundamentalists generally.

Vigo's intended takeover and manifestation, his little interdimensional happening is specifically scheduled to occur (he PLANNED it that way) at mid-night on New Years' Eve - just after 11:59pm Eastern Standard Time, on December 31st 1989.... Which means absolutely NOTHING...

Unless we are talking symbolically and alchemically and thinking magickally about somebody DESPERATE to get in early and beat the deadline to get as much prep time in as possible ahead of 2012.

And the trailer even plays this up even more than it already is present in the movie itself :

"At the stroke of midnight of the last decade of the Twentieth Century...!"

Which means WHAT, exactly....?

Well, means that we're on The Clock, man.

IF you are a man...

Time's running short.

Time's almost up.

And Vigo, (who, as Dan Ackroyd points out, unlike Gozer, has indeed "Lived Before" in This World as a man, as a King, and therefore actually is a ghost, and not a god (or so he thinks, in his mortal arrogance)) is determinedto live (here) again as a man.

The idea of soul-hopping into a willing female host vessel never even occurs to him in his male-chauvinist arrogance.

The Egyptian Mystery Religion and the African tradition of spirituality teaches us that we are

BORN DEAD into this world, we BECOME ALIVE, and then we ASCEND...

This is why Vigo needs a child, a baby (and, due to his vast excess of male vanity and presumption, a malechild) to attach himself to and bond with as his new host body and live again in This World

Oscar Barrett is an empty vessel (an "ARK") of life and experience (practically), so there is nothing there to displace - it's like Professor X's soul-hopping into the brain of an adult "vegetable" at the end of X-Men : The Final Stand, but done logically and rationally.

Oscar has not yet lived and so thus is not yet fully alive, and thus fresh meat to sustain the necromancer.

He can mesmerize and corrupt Janoz to do his bidding and be his eyes and ears and hands on Earth, whilst empowering him with Earthly and spirit-realm magicks, but he can't occupy his body and displays his rather annoying and toadying personality.

This is why he doesn't just jump straight out of the painting and fully possess Ray in the first place - Ray is fully and truly alive, so he has to first enslave his will using magicks and hypnosis from the painting before he can get anywhere near actually manifesting inside Ray's body, but there is also far too much life there, of Ray's life to displace - it must require an enormous effort to push Ray's soul out of the way, and it's quite simply not sustainableVigo, for those few seconds, is a true parasite rather than Vigo reborn as Ray.

Something truly awesome I only just realised :

I always dismissed that final scene in Ghostbuster 2 as being silly, goofy and nonsensical - why would exorcising Vigo's shade from his evil portrait using mood slime make a new painting of the four Ghostbusters as Gregorii Watchersrs as protectors over the infant Oscar?

That's stupid, right? That doesn't make any sense.

That's not what's happening - Egon specifically says, whilst examining the painting up close, "Early Rennaissance, I think...", when we know that Vigo['s head] died in 1505, which is LATE Rennaissance, which would have been when he cursed the painting and pur a portion of his essence into it to act as his talisman or mandala to anchor his spirit and act as a guide-rail drag his full consciousness back into our physical realm of material reality.

Such dark magicks doubtless called for a ritual sacrifice, destruction or corruption of something pure or innocent or beautiful to serve some awful, cruel and wicked, meaning that Vigo, or the artist he commissioned to capture a portion of his soul in the painting must have painted over an existing pure and beautiful image already on the canvas and trapped it underneath the paint to sustain its own need for corrupt destruction and irrational domination whilst he remained locked inside the portrait trapped inside various museum vaults, locked in storage, waiting for the right person to possess to once his strength began to ooze back out the canvas and break free.

But his reliance on the mood slime was ultimately his downfall, and it betrayed and abandoned him when he thought his control over it was complete, certain and absolute.

He thought himself the Master of the Ooze, but he proved to wanting in his attempts to weild it - he took Her for granted, She proved herself a fickle beast and a subtle vixen and ultimately allied with his enemies to precipitate his downfall and ultimately She destroyed him totally.

And this is how we learn....

So, to reiterate the point, it doesn't resemblean early-Rennaissance painting from the mid-1400s it is an early-Rennaissance painting from the mid-1400s created by some mad visionary prophet of the Italian Golden Rennaissance who really managed to capture Egon's hair right, that Vigo didn't want anybody else seeing or knowing about prior to The [his] End of the World.

Such is Male Ego....

And the moral of the story is :

Feminism cannot be controlled or brought to heal - She will always turn against you if you try to break or train Her, and she cannot be domesticated;

Only a Fool or an Idiot would even try.

She is of The Wild, and She is Eternal

She is the Storm and She Reaps the Whirlwind, for Hell Hath No Fury....